Absolute Amplitudes and Spectra of Certain Musical Instruments and Orchestras

Sivian, L. J.; Dunn, H. K.; White, S. D.

doi:10.1121/1.1915260

Cited by 39 publications

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“…Since a reliable determination of the sound power of acoustic instruments depending on the intended dynamic strength and the pitch of the notes played thus requires quite a large experimental effort, only limited data are available so far. Earlier studies on the power and the dynamic range of musical instruments mostly relied on comparative measurements of sound pressure values (Sivian et al, 1931). The first comprehensive series of direct measurements of sound power for all standard orchestral instruments according to the reverberation chamber method was performed by Meyer and Angster (1983).…”

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Sound power and timbre as cues for the dynamic strength of orchestral instruments

Weinzierl

Lepa

Schultz

et al. 2018

The Journal of the Acoustical Society of America

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In a series of measurements, the sound power of 40 musical instruments, including all standard modern orchestral instruments, as well as some of their historic precursors from the classical and the baroque epoch, was determined using the enveloping surface method with a 32-channel spherical microphone array according to ISO 3745. Single notes were recorded at the extremes of the dynamic range (pp and ff) over the entire pitch range. In a subsequent audio content analysis, audio features were determined for all 3482 single notes using the timbre toolbox. In order to analyze the relative contributions of timbre- and amplitude-related properties to the expression of musical dynamics in different instruments, Bayesian linear discriminant analysis and generalized linear mixed modelling were employed to determine those audio features discriminating best between extremes of dynamics both within and across instruments. The results from these measurements and statistical analyses thus deliver a comprehensive picture of the acoustical manifestation of “musical dynamics” with respect to sound power and timbre for all standard orchestral instruments.

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mentioning

confidence: 99%

Sound power and timbre as cues for the dynamic strength of orchestral instruments

Weinzierl

Lepa

Schultz

et al. 2018

The Journal of the Acoustical Society of America

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Pure-Tone Thresholds of Professional Pianists

Arnold¹,

Miskolczy-Fodor²

1960

Archives of Otolaryngology - Head and Neck Surgery

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Loud Speakers and Microphones*

Wente¹,

Thuras²

1934

Bell System Technical Journal

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In ordinary radio broadcast of symphony music, the effort is to create the effect of taking the listener to the scene of the program, whereas in reproducing such music in a large hall before a large gathering the effect required is that of transporting the distant orchestra to the listeners. Lacking the visual diversion of watching the orchestra play, such an audience centers its interest more acutely in the music itself, thus requiring a high degree of perfection in the reproducing apparatus both as to quality and as to the illusion of localization of the various instruments. Principles of design of the loud speakers and microphones used in the Philadelphia‐Washington experiment are treated at length in this paper.

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Absolute Amplitudes and Spectra of Certain Musical Instruments and Orchestras

Cited by 39 publications

References 0 publications

Sound power and timbre as cues for the dynamic strength of orchestral instruments

Sound power and timbre as cues for the dynamic strength of orchestral instruments

Pure-Tone Thresholds of Professional Pianists

Loud Speakers and Microphones*

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